Anna Coliva, director of the Villa Borghese, talks about the personal collection of Scipione Borghese, the richest man in the world at the beginning of the 17th century.

by Fiona Scott Lazareff

15 April 2015

Anna Coliva must relish going to work everyday. She crosses the delightful Borghese Gardens before gliding into the Borghese Palace, winding her way along narrow corridors until finally she comes into a large open space with stunning views of the gardens and park which gives way to the hills surrounding Rome in the distance.

Anna Coliva, next to the Venus Victorius by Antonio Canova

She is fortunate enough to be the director of the Galleria Borghese, Rome, which houses a substantial part of the Borghese collection of paintings, sculpture and antiquities, a collection created by Cardinal Scipione Borghese (1605–1621), the nephew of  Pope Paul V who had the reputation of being one of the most knowledgeable and aggressive art collectors of his day. The Villa was built by the architect Flaminio Ponzio, following sketches made by Scipione Borghese who used it as a villa for entertaining close to Rome. Scipione Borghese was an early patron of Bernini and an avid collector of works by Caravaggio. His collection also includes paintings by Botticelli and Raphael, as well as some spectacular sculptures by Bernini. There are highlights at every turn, but whatever you do, don't miss Bernini's Il Ratto di Proserpina (The Rape of Proserpina) and Canova's Venere Vincitrice (Venus Victorius).

Anna Coliva has been working here since 2005. But at the moment of our meeting, she explains that a new directive regarding the management of museums has just been drawn up and nobody quite seems to know what the consequences will be. Though it seems, she thinks, that each museum will be more financially independent. "For the moment the word 'director' is meaningless", says Coliva. The role of a director in a museum in other countries would be quite clear, but here not so. Until now I have been responsible for the collection and its conservation, for ongoing research and for exhibitions. But as for finance, I haven't had any responsibility, it's not required. Nobody asks for a plan. That's the problem with the administration in Italy. It's very difficult to become the director of a museum: you have to have your BA, followed by an MA with years of specialisation. But after that, it's a mess!”

 Gian Lorenzo Bernini's The Rape of Proserpina

“I have put the Borghese on its feet. There's the normal work, the restoration, planning  exhibitions, but then we have also raised money, created an audio guide in several  languages, developed a digital app etc.” There are also the private parties and sponsors to organise. Between 1998-2014 she raised over €12m in donations without a dedicated staff using mainly her personal contacts. "People see what their money is spent on so it makes it easier. The circle is increasing with more and more people following.”

Unlike many major names in the museum world, everything in the collection is hung and displayed, there is nothing in storage. "The Borghese is a museum of masterpieces. It's not enormous, like the Louvre. It's the personal collection of one man, the richest man in the world at that moment. It includes archaeological objects, renaissance, and contemporary art:  Bernini, Caravaggio, etc. Anything which is not displayed on the first three stories of the gallery is displayed on the 4th floor, rather than being hidden in reserves.”

The problems of running this place is a shortage of guardians as well as the usual politics and money! In London, the government thinks of the total revenues resulting from an exhibition, (including accommodation, for example), but that doesn’t happen in Italy.”

 Raphael’s The Deposition

Her favourite pieces in the gallery are La Deposizione by Raphael and Bernini's Ratto di Proserpina, “which looks different each time I look at it. I also love David and Goliath by  Caravaggio: what unbelievable beauty”, she adds.

As I leave, I ask Ms. Coliva if she has some insider tips for Diventonians visiting Rome:

“I love Da Gino in Vicolo Rosini: it's the only real trattoria which has survived. It's old fashioned. Great quality. Even the Belgian Queen Paola went there!

My favourite walk up to the Piazza del Campidoglio. Don't stay on the Piazza like everybody else, but turn at the little street going up to the right and walk around the walls with the wonderful view of Rome.”